DESCRIPTIVE
IN THE
NATIONAL GALLERY,
WITH
CRITICAL REMARKS ON THEIR MERITS.
BY
VM. YOUNG OTTLEY, F.A.S.
MEMBER OF THE SOCIETY OF ARTS AND SCIENCES AT UTRECHT,
AND AUTHOR OF ‘ THE ITALIAN SCHOOL OF DESIGN,’
‘ AN INQUIRY INTO THE ORIGIN AND EARLY
HISTORY OF ENGRAVING,’ & C.
PART I.
CONTAINING
Clic 2nger£tein Collection.
LONDON:
‘ JOHN MURRAY, ALBEMARLE STREET.
1826.
J. M'Creery, Tooks Court,
Chancery Lane, Loudon.
TO
THE EARL OF LIVERPOOL, K.G.
FIRST LOUD OF HIS MAJESTY^ TREASURY.
THE CHANCELLOR OF THE EXCHEQUER,
THE EARL OF ABERDEEN, K.T.
THE Rt. HON. SIR CHARLES LONG, G.C.B.
SIR GEORGE BEAUMONT, BART.
AND
SIR THOMAS LAWRENCE,
PRESIDENT OF THE ROYAL ACADEMY. *
THESE REMARKS
ON
THE PICTURES
IN
THE NATIONAL GALLERY.
ARE
MOST RESPECTFULLY INSCRIBED,
BY
THE AUTHOR,
■
TO THE READER.
The present series of remarks on the Pic-
tures of the late Mr. Angerstein was com-
menced soon after his death. The Executors
had determined to dispose of the Collection,
without separation, by private Sale, and had
requested Sir Thomas Lawrence, Presi-
dent of the Royal Academy, to procure a
Descriptive Catalogue of it, in order that
it might be transmitted to foreign Courts in
furtherance of that object. That gentleman
made application to me, and I willingly un-
dertook the task ; — being the more flattered
by the compliment thus paid to my judgment,
as I could not at the time boast of that in-
timacy with him, with which I have been since
honoured.
But, happily for the arts of this country,
VI
TO THE READER.
his Majesty’s Government saw the import-
ance of the Collection, and, before the Cata-
logue was quite finished, purchased it for the
Nation.
What I had written was now no longer
wanted for the purpose originally intended ;
and I probably should have thought no more of
it, but for a conversation upon painting which
took place, in my presence, a few weeks ago ;
upon which occasion several gentlemen of the
company, although admirers of pictures, very
ingenuously confessed that they were often
greatly at a loss to discover in what con-
sisted the peculiar merit of this or that per-
formance, when viewing it, and that in fact
they very much wanted a guide. Upon in-
quiry, I found that others were willing to
make the same admissions. It then occurred
to me that these remarks might prove to be
of some utility to the public ; and after fur-
ther consideration I resolved to print them.
But, had I reflected a little, I ought to
have perceived that I really needed not this
testimony of others, in order to learn that rso-
TO THE READER.
VU
tices of this kind must have some value ; since,
notwithstanding I have made pictures the
study of my whole life; and had many times
seen and examined those of the present col-
lection before I undertook to describe them ;
still, it is very certain that many of their
beauties remained unobserved by me, until,
sitting before the pictures, I began to note
down the various minute details which I dis- .
covered in them.
Under these circumstances I indulge the
hope that this small publication may prove
a useful companion to persons in general,
when visiting the National Picture Gal-
lery ; and that it may conduce in some de-
gree to the gratification even of those who
are conversant in the art of painting ; by
pointing out to them, occasionally, certain
traits of invention or of technical skill in the ]
works it describes, which they might other-
wise for some time have disregarded.
It will be perceived, in the following re-
marks, that I have been more desirous to
point out the beauties of the different pic-
vlii TO THE READER.
hires, and to explain what I conceived to be
the intention of their respective authors, than
to detect and insist upon trifling faults— a
task which I leave to those to whom it may
afford gratification;— but, writing, as I do,
for the public, I have still felt it my duty , in
a few instances, to notice those more serious
errors which appeared to me to affect the ge-
neral excellence of the performances in which
they occur.
I have only further to add> that it is in-
tended very speedily to enlarge the present
small volume with descriptions of the nvell-
chosen Collection lately transmitted to the
NATIONAL GALLERY by the patriotic
munificence of Sir George Beaumont,
Bart. ; and also with those of a fewr very
fine additional specimens recently purchased
for it by his Majesty’s Government.
Devonshire Street, Portland Place ,
June 1st, 1826.
NATIONAL GALLERY.
THE
ANGERSTEIN COLLECTION.
No. I. (10.)*
RAFFAELLO SANZIO DI URBINO.
Born, 1483. Died, 1520.
The Portrait oe Pope Julius II.
Although it is certain that the political conduct
of Pope Julius was not always such as became a
Christian pastor ; still, his ability in the cabinet,
and his intrepidity in the field, have justly ren-
dered him illustrious in the page of general his-
tory. By the lover of the fine arts, in particular,
* The figures in crotchets denote the Numbers attached to
the Pictures, as they are now hung ; the present Catalogue
being arranged chronologically, and in schools.
B
NATIONAL GALLERY.
•2
his name must always be remembered with respect ;
seeing that it is to the discriminating, and at the
same time liberal patronage, which he first ex-
tended to Michelangiolo Buonaroti and Raffaello
di Urbino, that we are chiefly indebted for those
admirable productions of painting which decorate
the walls of the Vatican, and have been ever con-
sidered by students of that art, as the most per-
fect models for imitation.
The veteran pontiff is represented in a sitting
posture, his elbows resting on the arms of his chair,
and is seen, in a three-quarter point of view, to a
little above the knees. His cap and short cloak
are of crimson silk, edged with ermine, and his
under garment is of white linen, plaited, with
silken sleeves. He holds one of the arms of the
chair with the left hand, whilst his right hand,
which, from the perspective chosen by the artist,
forms the most prominent object in the picture,
hangs easily, advancing before, and hiding part of
the body.
The head is admirable. It is that of a hardy
old man, accustomed to combat and to conquer
difficulties; and the square projecting forehead,
strongly marked features, strait white beard, and
eyes deeply seated in their sockets, indicate at
ANGERSTEIN COLLECTION.
3
once that keenness of penetration and firmness of
purpose, which were among the leading traits in
the character of Julius. He appears absorbed in
thought, little mindful that he is sitting for his pic-
ture ; and we may conjecture, from the expression
of the countenance, that whilst Raffaello was em-
ployed in delineating his features, the enterprising
spirit of the pontiff was meditating the subjection
of new provinces to the See of Rome in distant
parts of Italy.
Although, as a whole, this portrait is in the
highest degree simple and dignified, it is not defi-
cient in becoming ornament. The background is
a green hanging, on which, at regular distances, are
slightly indicated, with a somewhat darker tint of
the same colour, the cross-keys of the pontifical
office. From the two corners of the back of the
chair rise two shafts, surmounted by gilt ornaments
in the form of acorns, in reference to the armorial
bearings of the Pope’s family, and enriched below
with gold fringe, through which is seen the crim-
son covering of the chair. On the fingers of each
hand are three rings ; and in the right the Pontiff
holds a small handkerchief, which, from its white-
ness, contrasted with the dark tint of a ring on the
fore- finger, is greatly beneficial to the effect of the
b 2
4
NATIONAL GALLERY.
whole ; by giving increased projection to that
hand, which, as before stated, is intended to ap-
pear nearer the eye of the spectator than any other
part of the figure.
This fine picture, which is painted on board,*
was formerly in the Borghese Palace, at Rome,
and measures 3 feet 6 inches in height, by 2-8.
* As pictures are, for the most part, painted on canvas, it
has been thought sufficient, in the present Catalogue, to mark
only the exceptions to that general rule.
ANGERSTEIN COLLECTION.
5
No. II. (55.)
FRA SEBASTIANO DEL PIOMBO.
Born, 1485. Died, 1547.
ASSISTED BY
MICHELANGIOLO BUONAROTI.
The raising of Lazarus.
This Picture, the joint production of Sebastiano
del Piorabo, and Michelangiolo Buonaroti, — the
one an eminent colourist, the other the greatest
designer that Italy has yet produced, — is alike ad-
mirable for its merits as a work of art, and inte-
resting from the circumstances which gave rise to
its execution, or are otherwise connected with its
history.
We learn from Vasari, that Sebastiano, who had
been a scholar of the celebrated Giorgione at
Venice, came to Rome upon the invitation of Agos-
tino Chigi, about the time when RafFaelle and his
scholars were employed by that opulent merchant
to decorate, with fresco-paintings, his Villa now
known under the appellation of the Farnesina.
6
NATIONAL GALLERY.
It appears that certain compartments were also
allotted to Sebastiano ; and that, although he
was found deficient as a designer, he soon ac-
quired considerable reputation in the Roman capi-
tal by the beauty of his colouring. The lovers of
painting at Rome were at this time divided in opi-
nion as to the relative merits of Michelangiolo
and Raffaelle, and had ranged themselves in two
parties ; the admirers of the Florentine artist ear-
nestly maintaining his pre-eminence ; whilst the
more numerous partizans of Raffaelle as strongly
insisted upon his superiority, excepting alone in
that part of the art which is termed design. Se-
bastiano, it seems, sided with the former ; and
Michelangiolo, in consequence, noticed and pa-
tronized him ; “ reflecting,” says Vasari, “that
were he secretly to assist Sebastiano with designs,
the Venetian painter would be enabled, by his skill
in colouring, to produce more perfect pictures than
those of Raffaelle ; and that thus, without working
himself, he might combat his adversaries.”
The performance under consideration was paint-
ed by Sebastiano in competition with Raffaelle,
who was then employed upon his celebrated Trans-
figuration. The invention, we think, ought prin-
angeustein collection.
7
eipally to be ascribed to Michelangiolo ;* and the
point of time chosen by him is after the comple-
tion of the Miracle. Lazarus is represented sitting
on the stone coffin which had contained his body,
supported by three men, who, having been em-
ployed to remove the lid from the sepulchre, are
now relieving him from the grave-clothes with
which he was enveloped. Jesus, standing in the
midst, appears to be addressing him after his return
to consciousness, in words, as may be supposed, not
unlike those which he had before used to Martha
and Mary : “lam the resurrection and the life ; he
that believeth in me shall never die.” Lazarus,
his countenance at once strongly expressive of awe
and gratitude, gazes upon him, wildly, but sted-
fastly, listening to his words ; whilst with his right
hand and foot he assists in disengaging his limbs
from the linen bandages which bound them ; eager
to prostrate himself at the feet of his Saviour.
The first great moment is past ; and the over-
whelming and indescribable emotions, occasioned
* The Cabinet of Sir Thomas Lawrence, richer in the ori-
ginal designs of Raffaelle and Michelangiolo, than, perhaps,
any other collection in Europe, contains several sketches by
the hand of Michelangiolo for parts of this picture, especially
for the figure of Lazarus.
8
NATIONAL GALLERY.
by the miracle in the breasts of the spectators, have
somewhat subsided ; and have given place to varied
feelings of astonishment, reverence, or devotion.
Immediately behind the figure of Christ is an old
man who looks, awe-struck, upon the reanimated
corpse, elevating both his hands ; — a figure, ad-
mirable for the expression, and which Buonaroti
repeated many years afterwards in his Last Judg-
ment ; — and in the foreground, on the left, is seen
another old man, kneeling at the feet of Christ,
his hands joined together in devotion, impatiently
awaiting the moment when he may express to him
the soul-felt conviction that he is indeed the true
Messiah, the Son of God.
The figure of Lazarus is a master-piece, as well
for the invention as the execution ; and forms,
with the men employed to unbind him, the most
prominent group of the picture. The hand of
Michelangiolo is apparent in every part of this
figure ; (and the same may be said of that of the
man who is releasing the legs of Lazarus,) and it
cannot be doubted that the Florentine artist, find-
ing Sebastiano utterly incompetent to give to it
that energy of character, and intelligence in the
naked parts, which he desired, seized his pencils,
whilst the colours were still in a moist state, and,
ANGERSTEIN COLLECTION.
9
with that prodigious power which he had acquired
by his long practice in fresco-painting, modelled
the head, limbs, and body, in every part ; leaving
untouched the kneeling figure of Mary, in the
middle of the composition, and immediately be-
hind the figure of Lazarus ; in order, perhaps, to
prove, by the comparison, to such as should here-
after examine the work with attention, how little
the Venetian could have achieved without his aid.
The drapery of Lazarus is admirably disposed for
the effect ; as is also the figure of the man who
supports his body : the latter leans forward, speak-
ing to one of his companions, who is looking up ;
and thus the upper part of his figure throws a pro-
jecting shadow over the neck, and part of the head
of Lazarus, whose face, by being kept entirely in
shadow, acquires a great augmentation of subli-
mity.
At a small distance behind the figure of Christ
is seen St. John, who, with a frankness of expres-
sion and gesture becoming an apostle of the truth,
appears answering objections raised against the
credibility of the miracle by a man who is addres-
sing him. Further off, behind these figures, is a
group of Pharisees, whose unbelief of the divine
character and mission of Jesus, is combated by a
b 3
10
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man who, pointing energetically towards the ac-
tion represented in the foreground, seems to say,
“ Could any one not sent from God have restored,
as he hath done, a dead person to life?” The figure
of Mary has already been noticed : behind her is
seen her sister Martha, whose attitude is somewhat
equivocal ; for we are unwilling to ascribe the same
sentiment to her, as to the three other women be-
yond her, who, holding their mantles over their
mouths and nostrils, seem to indicate that they are
not yet convinced the body of the restored man is
inoffensive. It is unnecessary to describe the other
subordinate figures and groups introduced by the
artist in different parts of this extensive composi-
tion.
The point of sight is high up in the picture, con-
siderably above the heads of the principal figures ;
and this choice was no doubt adopted by Sebas-
tiano, conformably to the custom of the period, in
order that he might be the better enabled to fill
his work with rich matter. The distance repre-
sents a view7 of Jerusalem, and a river, traversed
by a bridge, on the banks of which is seen a
group of women washing clothes. A striking effect
is produced in this part of the performance, by the
bridge and the arched entrance into the city being
angerstein collection.
11
represented in shadow ; while the houses and bank
of the river, which are shewn through them, ap-
pear illumined by sunshine.
The masses of light and shadow, throughout,
are broad and simple in their principle ; and to
the colouring of the piece, the artist has given all
the depth and richness of tone of the Venetian
school, without any ill-suited mixture of its cha-
racteristic gaiety. Upon the front of the raised
pavement, whereon stands the figure of our Savi-
our, is the inscription :
SEBASTIANUS VENETUS FACIEBAT.
This picture was painted by order of Cardinal
Giulio de’ Medici, then Archbishop of Narbonne
in France, and was presented by him to the prin-
cipal church of that city ; where it remained, till, at
a vast expense, (no less, it is asserted, than the cost
of completely repairihg the church,) it was obtain-
ed by the Duke of Orleans for his well-known col-
lection. Upon the dispersion of that collection in
England, in the years 1800-1, it was purchased by
its late proprietor, to whom a very large augmen-
tation of price was some years afterwards prof-
fered by the late emperor Napoleon, for the Gal-
lery of the Louvre.
12
NATIONAL GALLERY.
The picture was originally painted on wood ;
but, at the close of the last century, it was, by a
very curious process, transferred to canvas. Height ,
12 — 6; width, 9 — 6.
ANGERSTEIN COLLECTION.
13
No. III. (45.)
TIZIANO VECELLIO.
Born, 1477. Died, 1576.
A Music Party.
This Picture, which formerly belonged to King
Charles the First, appears to have been painted by
Tiziano, at a time when he was thinking of the
works of Giorgione ; and it is to be regretted that
so fine a work of art should have lost, as it appears
to have done, somewhat of its pristine beauty. The
most prominent figure of the group, which is very
picturesquely disposed, is that of a Music -master,
who appears instructing a boy in singing.
There is a scarce Etching of this Picture, with
the inscription : ‘ Titianus Pinxit. Ex collectione
Regis Magnet Brittannice. Henr. Danckers Hagae
Batavus sculp, et excud'.
Width, 4 — 1 ; height, 3 — 2.
14
NATIONAL GALLERY.
No. IV. (52.)
TIZIANO.
Venus and Adonis.
This Picture, which till the close of the last cen-
tury graced the collection of the Prince Colonna
at Rome, may justly be termed one of the most
perfect specimens now existing of the pencil of its
author ; being painted in his finest manner, and
having, happily, alike escaped the ravages of time,
and the more injurious hand of the inexpert pic-
ture-cleaner.
The subject was well calculated for the display
of Tiziano’s prodigious powers as a colourist ; and
he has made the most of it. The figure of V enus,
which is seen in a back view, receives the principal
light ; and is entirely naked, save that a white veil,
which hangs from her shoulder, spreads itself over
the right knee. The chief parts of this figure are
scarcely less excellent in respect of form than co-
louring. The head possesses great beauty, and is
replete with natural expression. The blond hair of
the goddess, collected into a braid rolled up at the
back of her head, is entwined by a string of pearls,
ANGERSTEIN COLLECTION.
15
which, from their whiteness, give value to the de-
licate carnation of her figure. She throws her arms,
empassioned, around her lover ; who, resting with
his right hand upon his javelin, and holding with
the left the traces which confine his dogs, looks
upon her, unmoved by her solicitations, and impa-
tient to repair to the chase. Cupid, meanwhile, is
seen sleeping at some distance off, under the shadow
of a group of lofty trees, from one of which are sus-
pended his bow and quiver ; — a truly poetic thought
— by which, it is scarcely necessary to add, the
painter intended to signify that the blandishments
and caresses of beauty, unaided by love, may be
exerted in vain.
In its colouring, this picture unites the greatest
possible richness and depth of tone, with that sim-
plicity and sobriety of character which Sir Joshua
Reynolds so strongly recommends in his lectures,
as being the best adapted to the higher kinds of
painting. The habit of the Goddess, on which
she sits, is of crimson velvet a little inclining to
purple, and ornamented with an edging of gold lace,
which is however of so subdued a tone as not to
look gaudy ; its lining being of a delicate straw
colour, touched here and there with a slight gla-
zing of lake. The dress of Adonis, also, is crim-
16
NATIONAL GALLERY.
sorb but of a somewhat warmer hue. There is
little or no blue in the sky, which is covered with
clouds, and but a small proportion of it on the
distant hills ; the effect altogether appearing to
be the result of a very simple principle of arrange-
ment in the colouring, namely that of excluding
almost all cold tints from the illumined parts of
the picture.
Tiziano in early life had practised the more gay
and ornamental style, common to most of the ar-
tists of the Venetian school ; and in that way has
painted some justly admired works. But he ap-
pears to have quitted it for ever, at no very ad-
vanced period of his life; deeming it, perhaps,
inconsistent with that grandeur of manner, the
importance of which he knew how to estimate ;
and adopted in its stead the less shewy but greater
style, of wdiich the present work and the one next
to be described are examples.
It is needless to enlarge further upon the tech-
nical merits of this admirable performance. It
may suffice to observe of the execution, that it is
quite exempt from crudity and hardness of man-
ner ; whilst, at the same time, every part is finish-
ed with care. Width , 6 — 2 ; height , 5 — 9.
ANGERSTEIN COLLECTION.
17
No. V. (48.)
TIZIANO.
The Rape of Ganymede.
This masterly performance, which is of an octa-
gon form, and was evidently intended to fill the
central compartment of a ceiling, was probably
painted at an advanced period of the artist’s life.
The figure of Ganymede, though foreshortened
with the greatest boldness, appears graceful in the
attitude and, for the most part, elegant in its
forms. The effect of the sotto in su , as the Italians
term that species of pictorial representation which
is intended to be viewed from below, is finely ma-
naged. The youth is borne upwards with rapidity
by the eagle, and seems flying into the canvas.
The bird of Jove, all black, except a few feathers
in the inside of his wings, makes a fine contrast to
the sky ; at the same time that by its depth of
tone, and breadth of mass, it gives relief to the
flesh. A long floating drapery, or scarf, of a light
lakish colour, passes gracefully over the right
shoulder and left arm of Ganymede ; its extremi-
ties projecting forward, and constituting, with the
18
NATIONAL GALLERY.
right leg and foot of the figure, the most promi-
nent parts of the picture, which is painted through-
out with great vigour of pencil and richness of
colouring.
This picture, like the last described, was for-
merly in the collection of the Prince Colonna at
Rome. Height and width , 5 — 8.
ANGERSTEIN COLLECTION.
19
No. VI. (27.)
ANTONIO DA COREGGIO.
Born, 1494. Died, 1534.
Christ praying in the Garden.
The affecting picture now before us merits, not-
withstanding the smallness of its dimensions, to be
ranked amongst the highest efforts of the artist s
genius.
Coreggio has chosen, for the scene of his repre-
sentation, a sequestered spot much overshadowed
by trees ; and it appears by the faint cool light of
the sky behind the distant hills, that he desired to
describe a point of time not long preceding the first
dawn of morning. On an elevated part of the
foreground, on the left of the spectator, the kneel-
ing figure of Christ appears, attended by a minis-
tering angel. Both are illumined by a superna-
tural splendor, which seems as if reflected, reci-
procally, from one figure upon the other : for the
painter designed to represent Christ as glorified in
his sufferings. The figure of the Saviour is in the
highest degree elevated and pathetic in its attitude
20
NATIONAL GALLERY.
and expression ; full of resignation and sorrow —
“ not my will, but thine be done !”— whilst that of
the comforting spirit is beautifully expressive of
compassion and veneration. In the middle dis-
tance, the three attendant Apostles are indistinctly
seen, overcome by sleep; and still further off
may he perceived the Jewish mob, approaching
to seize Jesus.
It were a misapplication of language to attempt
by such means to convey any just idea of the
beauties of this extraordinary performance in re-
spect of clair-obscure and colouring. Of its merits
in other particulars, however, it may be proper
further to remark, that the intelligence and ex-
quisite feeling displayed in the execution of the
head and boldly foreshortened left hand of Christ,
and of the entire figure of the angel, (to say no-
thing of some other parts,) are such as to justify
the conviction that this picture, which is a repe-
tition of one of great celebrity, formerly in the
cabinet of the King of Spain, and now in that of
his Giace the Duke of Wellington, is also by the
pencil of Coreggio, who, it is very certain, painted
duplicates of several of his most admired easel-
pictures.
But, in saying this we do not mean to insist
ANGERSTEIN COLLECTION.
21
that it is entirely by his hand ; as every one knows
it is not unusual with great artists, when they are
desirous of retaining duplicates of their favorite
works, to entrust the dead-colouring, generally,
and even, sometimes, the finishing of the less im-
portant parts, to their scholars. On board : width ,
1 — 4; — height, 1 — 2.
22
NATIONAL GALLERY.
Nos. VII. VIII. (47. 51.)
COREGGIO.
Two Groups of Heads, much larger than
Nature.
These bold and masterly performances were for-
merly in the celebrated collection of Christina
Queen of Sweden, after whose death they were
purchased, with others of that collection, by the
Regent Duke of Orleans for his gallery.
Their pedigree is therefore in the highest de-
gree respectable; and to this it may be added,
that they differ materially in respect of composi-
tion from any of the groups introduced by Co-
reggio in the two Cupolas painted by him at
Parma ; and in consequence cannot be classed
among the numerous large studies made by the
Caracci and others after those celebrated works.
Barry speaks of them in terms of unbounded com-
mendation.
Since writing the above, we have examined
these two pictures, by means of a ladder, with as
much attention as, under the circumstances, we
were able to employ ; and the result of such in-
ANGERSTEIN COLLECTION.
23
complete investigation is, that we are much dis-
posed to consider them as fragments of some large
work, which originally occupied a situation far
above the eye, in some church at Parma. Our
next supposition is that, in consequence of some
intended alteration in this building, it became ne-
cessary to take the said work down ; and that it
being found too large, and perhaps too awkward
in shape, to render it ornamental in any other than
its original situation, it was thought expedient to
cut it into pieces, and thus to adapt some parts to
the purposes of furniture. We repeat, that we
have not examined these fragments sufficiently to
enable us to form a very decided opinion concern-
ing them. Still, even now, we hesitate not to
style them very fine things ; and if forced to de-
clare whether or not we thought the great artist
to whom they have long been ascribed had really
had any hand in them, (for they may have been in
great part done after his cartoons by scholars)
should answer in the affirmative. Height, 5 ft. ;
width, 3 — 6.
24
NATIONAL GALLERY.
No. IX. (39.)
LODOVICO CARACCI.
Born, 1555. Died, 1619.
Susanna and the Elders.
This frequently repeated subject is represented
with less violation of decency in the picture before
us than is commonly the case. The upper part of
the body of Susanna, only, is naked ; the rest of
her figure being enveloped in the ample folds of
a dark green drapery. One of the Elders leans
forward, and appears to remonstrate with her,
using arts of persuasion ; whilst his companion,
behind, seems alarmed at her cries for help, and
already determined upon revenge. The whole is
painted with great force of effect, and at the same
time is highly studied in the parts. We are obliged
to add, however, that the head of the female ap-
pears deficient in expression.
This picture was purchased from the Orleans
collection. Height, 4 — 8; width, 3—7.
ANGERSTEIN COLLECTION.
25
No. X. (58.)
ANNIBALE CARACCI.
Born, 1560. Died, 1609.
St. John the Baptist.
The Baptist is represented in a recumbent pos-
ture, the upper part of his body naked. He rests
with his left arm upon a bank, and holds in the
right hand a bowl, which he appears filling with
water from a streamlet that gushes from a rock.
The figure is drawn and executed with great aca-
demic power ; and the background, a wild, pictu-
resque landscape, is painted in Annibale’s boldest
manner.
This picture, also, was formerly in the Orleans
collection. Height, 5—5; width, 4 — 1.
26
NATIONAL GALLERY.
No. XI. (37.)
ANNIBALE CARACCI.
Pan Instructing Apollo to play upon the
Reed-Pipe.
This masterly performance of Annibale, in his
last manner, is supposed, by Lanzi to have been
painted by him in distemper, and not in oil co-
lours ; and in truth it possesses all that simplicity
and freshness in the execution, which are charac-
teristic as well of that method as of fresco-painting.
The figure of Apollo has a certain youthful timi-
dity, and at the same time archness of expression,
joined to a gracefulness of attitude and deport-
ment, which render it particularly captivating. He
has just ceased to play, and, holding the reed pipe
with both hands, listens attentively to the obser-
vations of his instructor ; who, resting his elbows
on his knees, sits with the assumed dignity of a
judge, and appears to have just uttered some re-
mark relative to the progress which his young pu-
pil has made on the instrument. Both these figures
are drawn with simplicity of outline, and executed
ANGERSTEIN collection.
27
with great boldness of manner ; the landscape and
other accessories are in the most truly classic
taste ; and on the whole this little picture, which
was formerly in the Lancellotti collection at Rome,
is, we think, justly entitled to rank among the
most happy productions of the artist. It may be
proper to add, that the figure of Pan is supposed
to be the portrait of a music-master, with whom
Annibale was upon terms of intimacy. On wood.
Width, 2 — 8 ; height, 1 — 2.
c
o
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28
l
No. XII. (49.)
DOMENICO ZAMPIERI, called DOMENI-
CHINO.
Born, 1581. Died, 1641.
Erminia visiting the Shepherds, in search of
Tancred.
The subject of this picture will be found in the
seventh book of Tasso. Erminia is represented
standing on the right, clothed in a dark blue cui-
rass, and over it a white mantle, one part of which
crosses her body below the middle, whilst another
part, passing gracefully over her shoulders, floats
like her tresses in the air. Her figure has great
simplicity of attitude, and her head is extremely
beautiful. She presses her right hand to her bo-
som, and appears addressing herself to the old
Shepherd, whom the poet describes as employed in
basket-making, and who, seated on a rocky bank,
listens, much affected by her tale. The three Chil-
dren, mentioned by Tasso, form a pretty group
in the upper corner of the picture, on the left,
behind the Shepherd. One of them has a reed-
ANGERSTEIN COLLECTION. 29
pipe, another a flute and tabor ; all seem delighted
with the appearance of the stranger, welcoming
her with smiles. Behind the figures is seen a
flock of sheep, and beyond is a simple landscape,
of which the most striking feature is a broad,
winding river.
This picture is highly studied in every part,
though painted with great boldness, and, in addi-
tion to that purity of style in the drawing and ex-
pressions of the figures, which ever characterises
the productions of Domenichino, possesses great
vigour and richness of colouring. Width, 7; height,
4—10.
30
NATIONAL GALLERY.
No. XIII. (57.)
NICCOLO POUSSIN.
Born, 1594. Died, 1665.
A Bacchanalian Scene.
• ...
This picture is painted in Poussin’s most finished
manner, and is happily exempt from that blackness
in the shadows, which we observe in a large pro-
portion of the works painted by him during his
residence at Rome ; a defect which was, perhaps,
as often the consequence of the materials used in
the preparation and priming of his canvases, as
of the little care which, during a considerable part
of his life, he is said to have bestowed upon his
colouring.
The numerous and spirited figures which it
contains are designed with even more than his
accustomed correctness of outline. Particularly
excellent in this respect is the young female satyr
who has playfully leaped on the back of a goat ;
as are also the faun, seen in a back view, dancing ;
the other faun, behind him, dancing, and at the
same time playing on his flute ; and the figure of
ANGERSTEIN COLLECTION.
31
Silenus, to whose form the painter has given a
sufficient share of corpulence, to distinguish him ;
without having recourse to those monstrous pro-
tuberances which so often disgust us in the works
of artists of a less chastened style.
The landscape, as is ever the case in the pic -
tures of Niccolo, possesses much to admire; espe-
cially the large group of trees on the left, whose
numerous stems, apparently unthinned by the axe,
and rising, in some instances, to the top of the
picture, form together a large mass of dark, which
is greatly beneficial to the effect of the w'hole.
This admired picture formerly graced the col-
lection of the Barberini Palace at Rome. Height,
4 — 8; width, 3 — 1.
32
NATIONAL GALLERY.
No. XIV. (48.)
GASPARO POUSSIN.
Bom, 1613. Died, 1675.
A Landscape, with Figures representing Abra-
ham and Isaac journeying towards the
Mount for the intended Sacrifice.
Amongst the numerous works of painting which
formerly enriched the gallery of the Prince Co-
lonna at Rome, few were more deservedly admired
or highly prized than the landscape now before
us, which was generally considered to be, on the
whole, the most perfect production of the artist.
In the foreground, on the right, the youthful
Isaac is represented bearing the wood for the sacri-
fice, and followed by his father with a torch. They
appear walking up a steep and unfrequented path,
over-shadowed by trees ; having left behind them
the two servants of Abraham, who are seen seated
on the ground, at some distance, near the centre of
the picture. These figures are not of so large iL
^ize as to be obtrusive ; and being, also, painted
ANGERSTEIN COLLECTION.
33
by the pencil of Gasparo himself, (which, unfortu-
nately, is not always the case in his larger pic-
tures,) are in perfect harmony with the surrounding
landscape.
The foreground and middle-ground are in a
low tone of colouring, save here and there a par-
tial gleam of subdued light , as on that part where
the figures of Abraham and Isaac are introduced ;
upon the top of a waterfall, near the left extre-
mity of the picture ; and on part of the ruins of
an ancient city in the middle distance ; it having
been evidently the intention of the painter to con-
fine his principal light to the sky over the horizon,
and to the extreme distance ; which exhibits an
extensive flat country, similar to the Campagna of
Rome, bounded on the left by a ridge of moun-
tains.
The composition is perfect ; and Gasparo has
chosen for representation the appearance of a
somewhat clouded sky ; by which means he was
enabled, in the flat distance, to introduce long
masses of accidental shadow, which serve to throw
back the illumined tracts of country beyond them
with surprising effect. Width, 6 — 6 ; height, 5 — 3.
34
NATIONAL GALLERY.
No. XV. (24.)
GASPARO POUSSIN.
A Land-Storm.
The foreground of this very striking landscape
represents the turn of a road, and by the side of it
a large tree in full leaf, which has been that mo-
ment laid prostrate by the violence of the wind.
A little way off, on the left, the road is bounded
by a perpendicular bank, under the shelter of
which are seen two shepherds with their sheep,
who appear terror-struck by this sudden effect of
the tempest. In the middle distance another
shepherd is represented driving his flock precipi-
tately down a steep declivity. This last group,
together with some buildings upon an eminence
near the centre of the piece, and part of the ex-
treme distance, are illumined by partial gleams of
light ; which, together with the powerful light in
the sky over the horizon, serve, by contrast, to
deepen the gloom which pervades every other part
of the picture. The whole is finely descriptive of
the intended subject ; but in no part has the ar-
tist evinced more consummate skill than in the
ANGERSTEIN COLLECTION'.
35
foreground, where the appearance produced upon
the plants and other foliage by the violence of the
gale is represented with unrivalled correctness of
imitation.
This fine picture was formerly in the collection
of the first Lord Lansdown. Width, 6; height,
4—11.
36
NATIONAL GALLERY.
No. XVI. (56.)
CLAUDIO LORENESE.
Born, 1600. Died, 1682.
A Sea-Port.
This picture represents a Sea-Port view, a little
before sunset in the autumn. On the right are
some large vessels lying at anchor, and on the left
are various magnificent buildings, on the fagade
of the most prominent of which the artist has in-
troduced a clock, with the hand pointing to the
hour ot five; ingeniously denoting thereby the
time he intended to represent. The orb of day
appears near the horizon, surrounded by clouds,
whose orange and inflamed hue, in addition to
some darker clouds placed higher in the picture,
seems to menace the approach of bad weather. In
the offing is seen a watch-tower, or lighthouse, of
great height, near which are moored a large A^essel
and two smaller ones. The appearance of the
shadow cast by these upon the ruffled sea is inimi-
tably expressed ; as is also the reflexion of the
sun upon the waves ; immediately below which
ANGERSTEItf COLLECTION.
37
luminous part Claudio has introduced a small boat
with two rowers ; the dark tint whereof, contrast-
ing with the brilliant focus of light above it, gives
a zest to this part of the picture, and greatly in-
creases its beauty.
Ihe figures in the foreground and elsewhere
are judiciously disposed, and employed in occupa-
tions proper to the scene. Some appear giving
directions ; whilst others are seen dragging their
nets to land, or carefully mooring their boats, in
order to preserve them from the effects of the ap-
proaching gale. This picture is said to have been
painted for the King of France, whose arms the
artist has inserted in a shield over the clock before
mentioned. Upon a stone on the left is inscribed :
“ Claudio inv. Roma 1644.” Width, 4 — 3 ; height,
3—3. ;
38
NATIONAL GALLERY.
No. XVII. (53.)
CLAUDIO LORENESE.
A Pastoral Landscape with Figures.
This Picture appears to have been painted as a
companion to the last described. In the fore-
ground, on the right, is represented a youth con-
versing with three huntresses, who have behind
them a page resting on his spear ; and on the left is
seen a herdsman reclining on the stem of a broken
tree, which overhangs a river, whilst his cows are
cooling themselves in the stream. A large group
of trees, on the opposite bank, fills the centre of
the piece. In the middle distance, on the left, is
a picturesque bridge — the water rushing through
its arch and forming a cascade ; and above is a
rocky hill, surmounted by a castle and other build-
ings. On the right, the scene is terminated by an
extensive flat country, with, beyond it, an arm of
the sea and distant mountains. The composition
of this landscape, thus rich in variety of object, is
particularly beautiful ; and it may be conjectured,
from the colouring and effect, that the artist in-
tended to describe the hour of eight or nine in the
ANGERSTEIN COLLECTION.
39
morning, at an advanced period of the summer.
The picture bears the name of Claudio, with the
date, 1045. Width , 4 — 5 ; height , 3 — 4.
40
NATIONAL GALLERY.
No. XVIII. (25.)
CLAUDIO LORENESE.
A Seaport View, with Figures representing
the Embarkation of St. Ursula, and the
Eleven Thousand Virgins.
The Picture now before us may justly be termed
one of the most studied and highly-wrought pro-
ductions of the master ; to which may be added,
that it is in a perfect state of preservation. The
subject necessarily required the introduction of nu-
merous figures, and it is well known that in these
Claudio was not always successful ; but in this in-
stance, they are so unaffectedly varied in their atti-
tudes and employments, and withal so perfectly in
harmony with the surrounding scenery, as to aug-
ment, rather than diminish the beauty of the piece.
On the left of the spectator, the virgins of St.
Ursula, gracefully distributed in groups, are seen
issuing from the portal of a magnificent temple,
and descending its steps ; while the Saint herself,
attended by five others of her train, stands over-
seeing their embarkation. Two are already seated
in a boat, and at a distance, on the right, others
ANGERSTEIN COLLECTION.
41
are represented getting out of another boat, and
ascending by a ladder into one of the ships des-
tined for their ultimate conveyance. Behind the
temple just mentioned is a long row of fabrics, of
varied form and dimensions, receding in just per-
spective, and forming the boundary of the port on
this, the left side ; and beyond is seen a tall watch-
tower. The skill displayed by Claudio in this part
of the picture is truly surprising ; the exact degree
of distance of each of these buildings being deter-
mined, by means of a nice distinction in the local
tint, (aided by the correctness of the lineal per-
spective,) with a perfectness of imitation which no
other painter of landscape ever yet equalled, and
which, it may safely be averred, no one will ever
excel. In the centre of the picture, and towards
the right, are seen three of the ships prepared for
the transport of the damsels ; and part of a massy
wall, bounding the port on that side, whereon nu-
merous persons appear assembled to witness their
departure. The extremity of the picture on this
side is enriched by a group of lofty trees, and at
a distance appears a large castellated building.
In this performance Claudio has not defined the
orb of the Sun ; but its exact situation is rendered
apparent, as well by the excess of brightness in one
42
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part of the sky, as by the projecting shadows
thrown by the different vessels upon the gently-
agitated water ; especially the shadow, broad, and
reaching to the foreground, which is occasioned by
the large ship in the centre, and which is intro-
duced in this place with the greatest possible ad-
vantage to the general effect of the piece. We
shall only further remark of this beautiful picture,
that the effect of the breeze upon the water and
upon the trees, and the freshness of the morning
atmosphere, are expressed in it with a closeness of
imitation bordering upon illusion. On the left, in
the foreground, is the name of the artist, with the
date 1646.
This picture formerly made part of the collection
of the Barberini Palace at Rome, and was after-
wards the property of the late William Lock, Esq.,
of Norbury Park, a gentleman of distinguished
taste and judgment in whatever relates to the fine
arts. Width, 4 — 11 ; height, 3 — 8.
ANGERSTEIN COLLECTION.
43
No. XIX. (46.)
CLAUDIO LORENESE.
A Seaport View, with Figures rnpresenting
the Queen of Sheba embarking for the pur-
pose of visiting Solomon.
The composition of this admirable picture is, in
the general arrangement, not very dissimilar from
that of St. Ursula, viewed in a reverse direction by
means of a mirror. The canvas, however, is lar-
ger, and as, at the same time, the figures and other
objects represented in it are fewer in number, the
result is, that a greater degree of simplicity and
grandeur of effect pervades the whole. Here,
moreover, the matchless pencil of Claudio has de-
picted the glorious orb of day, itself, rising in ma-
jesty, and dispelling with its life-giving rays, the
vapours of the morning.
On the right of the spectator, the Queen is seen
descending the steps of her palace, attended by her
train, and about to get into the boat which is
ready to receive her. The disposition of the ob-
jects on this side of the piece is exceedingly beauti-
ful. A large round tower, especially, which is
44
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built in the sea, but connected with the edifices
upon the shore by a bridge of a single arch, is
most happily introduced : it is all in shade, and
casting a delicate tint of shadow upon the steps and
lower parts of the palace, helps to confine the light
to the central parts of the picture, and thus to ren-
der its focus the more resplendent ; whilst through
the arch of the bridge, and above it, another large
building is ingeniously represented illumined. The
left edge of the picture is bounded by part of a tri-
umphal arch, which rises from the foreground to
the top of the canvas ; behind it are seen part of
two large vessels ; and beyond are other vessels
lying at anchor near the wall of a pier, which juts
out far into the sea. In this performance Claudio
has represented the sea under the influence of a
swell, as if the previous day had been stormy ;
and, in consequence, the reflexion of the sun upon
the waves is interrupted at intervals. It is almost
needless to add, that the painter has imitated this
effect of nature to perfection.
This picture bears the name of Claudio, and the
date, 1648, and was painted for the Duke de Bouil-
lon, who is said to have been one of the artist’s
earliest patrons. Width, 6—7 ; height, 4—11.
ANGERSTEIN COLLECTfQN.
45
No. XX. (42.)
CLAUDIO LORENESE.
The Marriage Festival of Isaac and Rebecca.
This highly studied and beautiful pastoral land-
scape, appears to be a repetition of a celebrated
picture by Claudio, in the collection of the Prince
Doria at Rome, well known under the title of ‘ la
Molina,’ or ‘ the Mill.’ The amenity of the sce-
nery is finely in unison with the subject represented
by the figures ; unless, indeed, it should be ob-
jected by the fastidious critic that the buildings,
and, perhaps, the landscape generally, are those of
Arcadia, rather than of Patriarchal times. It may
be observed of this performance, that, although it
contains a very great variety of objects, still its
leading characteristic, both in composition and ef-
fect, is simplicity : for, at a first view, the broad
expanse of the river, the mill, the dancing figures,
and the two large groups of trees, strike the eye of
the spectator as constituting, as it were, the whole
picture ; and, it is not until afterwards that he, by
degrees, discovers the waterfalls and the city in the
distance, and the other agreeable objects with which
46
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the artist has throughout so judiciously enriched
the less prominent parts of his work.
On the stump of a tree, in the centre of the fore-
ground, is inscribed : “ Mariage d’Isac avec Re-
beca and, upon a stone on the right, we read :
“ Claudio Gel. inv. Rome, 1648.” This picture
was painted, like its companion, the last described,
for the Duke de Bouillon. Width, 6 — 7 ; height,
4—11.
ANGERSTEIN COLLECTION.
47
No. XXI. (41.)
PETER PAUL RUBENS.
Born, 1577. Died, 1640.
The Holy Family, with St. George, and Two
Female Saints.
The introduction of Saints, or other person-
ages, of comparatively recent times, in the repre-
sentations of scriptural subjects, has been so ge-
nerally the practice of the painters of Roman Ca-
tholic countries, since the restoration of the art,
that an anachronism of this kind has long ceased to
be considered as impairing the value of a fine pic-
ture : and, indeed, it may almost be questioned, if
such apparent anomalies in devotional pieces ought,
strictly speaking, to be considered as anachronisms
at all ; since, in the visions of St. Catherine, St.
Francis, and others, the Saviour of the world is
often described as reassuming, as it were, for the
sake of their edification or comfort, his state of
helpless infancy $ or, as again submitting himself to
the pains of the cross.
This picture is designed and painted in a chaste
48
NATIONAL GALLERY.
manner ; which, joined to the agreeable character
of the subject, and the fine landscape-background,
render it very captivating. It is said to have been
one of those which remained in the possession of
the widow of Rubens, after his death. That it
was one of his favourite compositions is rendered
evident from the circumstance of his having caused
the principal part of it to be finely engraved upon
a large scale in wood, by Christopher Jegher, after
a. drawing prepared by him for the purpose. Width ,
5 — 4 ; height , 4 — 1.
ANGERSTEIN COLLECTION.
49
No. XXII. (44.)
RUBENS.
The Rape of the Sabines.
| The subject here represented was well calculated
to give scope to the exuberance of the painter’s
genius ; and there can be no doubt that he felt a
particular gratification in painting it. The com-
position, as a whole, is well conceived ; though,
perhaps, the large group on the left, in the second
plane of the picture, would have been productive
of greater effect had it been less complicated in its
arrangement ; or, had the numerous figures com-
posing it, been in some places better distinguished
from each other by the colours of the draperies, or
by more decided masses of shadow. The horse-
men and trumpeters in the distance are inimitably
spirited ; and the vigour and depth of tone which
the artist has given to the figures in the foreground
— especially to that of the matron dressed in black,
in the centre — separate those figures from the more
distant objects in the picture with great truth of
perspective.
This picture, when Sir Joshua Reynolds visited
D
50
NATIONAL GALLERY.
Flanders, in 1781, was in the collection of a Ma-
dame Boschaert, of Antwerp ; even then, it was
valued, he tells us, at upwards of two thousand
guineas. It may suffice to add, that it is in the
most perfect state of preservation ; and that, being
entirely executed by the hand of Rubens himself,
it furnishes abundant evidence of the lightness and
freedom of his pencil, and of the transparency, har-
mony, and gorgeous richness of his colouring.
Width, 7 — 9 ; height, 5 — 6.
ANGERSTEIN COLLECTION.
51
No. XXIII. (50.)
ANTHONY VANDYCK.
Born, 1599. Died, 1641.
The Emperor Theodosius stopped, after the
Massacre of Thessalonica, in the Porch of
THE GREAT CHURCH OF MlLAN, BY THE ArCH-
bishop Ambrose ; and refused admittance,
SAVE ON THE CONDITION OF SUBMITTING TO PER-
FORM Public Penance for his Crime.
This admired performance is a copy, made by
Vandyck, with variations, after a picture by his
master, Rubens, now in the Imperial collection at
Vienna ; and, perhaps, it is the only copy in exist-
ence which may with truth be termed fully equal,
if not superior, to the original. In some places he
has improved the drawing of the limbs of the
figures. But the most important alterations will
be found in the characters and expressions of the
heads, (among which, with the affection of a grate-
ful pupil, Vandyck has carefully painted that of
Rubens himself), and in the colouring ; which is
exceedingly rich and powerful, without partaking
d 2
52
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of that ill-suited, though splendid gaiety of appear-
ance, which the insatiable predilection of Rubens
for beautiful combinations of colour, occasioned him
so constantly to seek after in his historical pictures ;
too often without any consideration as to its fitness
or inapplicability to the character of the subject
which he was employed to represent.
This fine specimen of the pencil of Vandyck,
was formerly in the collection of Lord Scarborough.
Height, 4 — 10; width, 3 — 9.
ANGERSTEIN COLLECTION.
53
No. XXIV. (13.)
VANDYCK.
The Portrait of Govartius.
It is related of Vandyck, that in the latter years
of his short career, he was often reproached by his
friends, that the pictures he then executed were
greatly inferior in merit to those which he had pro-
duced in his younger days. “ I know it well,” he
would answer, “ and am no wise surprised at it : for
formerly I laboured for fame, and now I work only
for money.” The picture before us is painted in
Vandyck’s most studied and finished manner ; and,
though it presents only a head, is well deserving
the high reputation it has long held among persons
conversant with the difficulties of the art ; the face
being admirably drawn, and full of character ; the
eyes having all the liquid lustre of reality; and
the carnations possessing the softness, the trans-
parency, and the animated glow of nature itself.
On wood. Height, 2 — 7 ; width, 2 — 2.
54
NATIONAL GALLERY.
No. XXV. (11.)
VANDYCK.
The Portrait of Rubens. — ( A half-length.)
This Portrait is painted in a very broad and grand
manner ; and was bought by its late proprietor at
the Sale of Sir Joshua Reynolds, who, it appears,
had often expatiated upon the merits of it to his
friend Mr. Burke. At the conclusion of the sale,
that gentleman congratulated the purchaser upon
possessing what, he said, Sir Joshua termed “ his
favourite picture.” Height and width, 3 — 9.
ANGERSTEIN COLLECTION.
55
No. XXVI. (35.)
REMBRANDT.
Born, 1606. Died, 1677.
The Woman taken in Adultery.
It has been observed of Rembrandt that, in the
pictures executed by him in the early part of his
life, he often used the most exquisite finishing ;
and this without any sacrifice of the spirit and sur-
prising force of effect which were ever the peculiar
characteristics of his works. This is especially the
case with the admirable picture how before us,
which he is believed to have painted when young,
for his kind friend and patron, the Burgomaster
Six ; and whereon, it is evident, he exerted his
even then unrivalled talents to the utmost.
Rembrandt, it is sufficiently well known, had
little regard for that part of the art which we term
design or drawing. The proportions and forms of
his figures are inelegant ; — he never sacrificed to
the Graces. But in all other respects, as the late
Mr. Fuseli remarks, he is “ a genius of the first
order.” He was accustomed to say, “ that Nature
alone was capable of affording him instruction
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and Nature, as if pleased by the compliment, smiled
upon him, and endowed him with many of her
choicest gifts in a degree never, perhaps, possessed
by any other painter. In expression, especially,
he is never deficient ; and, whatever the subject-
matter of his canvas, he seldom fails to interest
or captivate by some novel combination or effect ;
some transient, though, perhaps, often-recurring
beauty in nature, which, but for him, might even
until now have passed disregarded.
The figure of Christ in the principal group of
this picture appears too tall St. Peter is still the
poor fisherman ; — the guilty female possesses no
beauty by which to bespeak sympathy in her be-
half. But the countenance of the Saviour beams
with compassion ; the apostle is a man without
guile ; and the eyes of the prostrate adulteress
stream with tears of contrition. In the variety of
character and expression which Rembrandt has
given to the other figures of the group, he has
evinced a sound judgment. The old man in black,
who lifts up the veil of the woman, and is her im-
mediate accuser, is strongly expressive of male-
volence; and, it may be inferred, is no wise in-
disposed to execute upon her the dreadful sentence
of the Jewish law : but the Rabbi behind him, and
ANGERSTElN COLLECTION.
57
others of the company, seem either intent only
upon catching Jesus in his words, or moved by
curiosity ; or desirous, like conscientious men,
(which the event afterwards shewed they really
were,) to be rightly instructed how to act upon the
occasion : whilst the soldier, accustomed to obey
implicitly the orders of others, awaits with calm
indifference the ultimate determination respecting
her. The chief figures in this group very pro-
perly receive the principal light ; especially that of
the female, which, alone entirely illumined, appears
the focus of the picture. After having sufficiently
viewed these, the eye of the spectator roams to
other parts of the performance ; and he perceives,
in the background, on the right, the high altar
rising majestically, its gold and silver ornaments
sparkling through the deep gloom of the edifice.
By degrees, as if in “ darkness visible,” he des-
cries numerous personages upon its steps, occu-
pied in acts of devotion. Perhaps in imagination
he further attempts to explore the recesses of the
venerable structure, forgetful of the painted illu-
sion ! ! Such were the powers of Rembrandt’s ge-
nius ; such is the resistless magic of his clair-ob-
scure.
The impression which was produced by this
d 3
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picture, when, some years ago, it was brought to
England, and first exhibited in Mr. Christie’s rooms
in Pall Mall, will not easily be forgotten by those
artists, and other lovers of painting, who chanced
to be in London at the time. On the day appointed
for the sale, however, a sufficiently large sum was
not offered for it ; and on the following morning
its late possessor, with laudable promptitude, pur-
chased it by private contract. On wood. Height,
2 — 9; width, 2—3.
ANGERSTEIN COLLECTION. 59
No. XXVII. (30.)
REMBRANDT.
The Adoration of the Shepherds.
Few subjects could be better calculated than the
present to display the powers of Rembrandt. Like
Coreggio, in the celebrated notte, he has made the
chief light of his picture proceed from the divine
infant ; whose figure, imperfectly defined in re-
spect of outline, appears absorbed in its own bright-
ness. The brilliancy of this light is further aug-
mented, by having immediately opposed to it, the
powerfully- shaded figure of the shepherd kneeling
in the foreground : so that the eye of the spectator
is at once irresistibly attracted to this the focus of
the picture. On the left the Madonna, seated in
an inclining posture upon a bench, watches over
her charge; behind her stands Joseph; and be-
yond, near the centre of the piece, are seen the
heads of two women. Here, also, may be per-
ceived the figure of a little child who, resting
with both arms upon a wooden partition, gazes
with an expression of angelic delight upon the re-
splendent babe ; as if the painter had called to mind
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the declaration, that “ of such is the kingdom of
heaven and intended to denote that the purity
and perfect innocency of the infantine spectator
qualified it, better than all others present, to re-
cognize in the newly-born child its beneficent Lord
and Saviour. All these figures are strongly illu-
mined by the light which proceeds from the in-
fant ; as is also that of a shepherd, who is repre-
sented kneeling behind the one already mentioned.
A little further to the right is seen a third shepherd,
who appears to have just entered the apartment,
and advances with cautious steps to join his devout
companions ; bearing in his left hand a lantern, the
uncertain light of which is thrown upon the ground,
and upon a boy who is introduced, holding a dog,
near the right extremity of the piece. The figures
of another peasant and two women, one of whom
has a child, are seen at a little distance, behind the
man with the lantern ; and, with the interior of the
stable, complete the picture ; which is painted in
Rembrandt’s boldest manner, and, for justness of
expression, truth and splendour of effect, merits
the highest praise. Height, 2 — 1 ; width , 1 — 10.
ANGERSTEIN COLLECTION.
61
No. XXVIII. (43.)
ALBERT CUYP.
Bom, 1606. Died, .
A Landscape with Cattle and Figures.
The rise which has taken place in the estimation of
this artist’s pictures within the last fifty years, —
during which period they have, perhaps, more than
quadrupled in value, — may be reckoned among the
best proofs of the advancement of the public taste
in this country ; at least, so far as respects the
Dutch school of painting. Despising the elaborate
finishing which constitutes the chief merit of- so
many painters of that community, it was the aim
of Cuyp to represent the beauties of nature by a
process wherein the powers of his intellect, rather
than the labour of his hand, should be apparent *
and the student may learn from his works, which
consist chiefly of cattle-pieces, that, even ih the
humbler departments of painting, grandeur of style,
in drawing, and breadth of manner, in execution,
may be employed with advantage. His choice of
scenery is always agreeable ; and in respect of co-
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louring, his finest landscapes are inferior, perhaps,
only to those of Claudio ; the varied effects pro-
duced. by the cheering influence of the solar rays,
upon the misty atmosphere of the country he in-
habited, being often imitated in his pictures, with
the same truth of resemblance which we admire in
the Italian artist’s representations of the appear-
ances of nature in his own more favoured clime.
He was well skilled in composition, and in the prin-
ciples of clair-obscure ; he often introduces in his
background a large piece of water, which, illumined
by reflexion of the warm sky, serves, in the hap-
piest manner, to unite the upper with the lower
parts of his picture ; and he seldom fails so to
group his sheep and cows as that they should
naturally receive and conduct the masses of light
in a way beneficial to the general economy of his
piece.
The above observations, although made with re-
ference to the productions of this artist, generally,
will be found sufficiently applicable to the picture
now before us ; which may be justly termed a fine
specimen of his talents, and was formerly in the
collection of Sir Lawrence Dundas, grandfather of
the present Lord Dundas. Width , 6 — 6 ; height ,
4—4.
ANGERSTEIN COLLECTION.
63
No. XXIX. (38.)
DON DIEGO VELASQUEZ.
Born, 1594. Died, 1660.
Two Portraits, said to be those of Ferdi-
nand of Medicis, Duke of Tuscany, and his
Consort.
This Picture is reported to have been presented
by the Court of Spain to Louis XIV., and formerly
hung in the Palace of Versailles ;* whence it was
removed during the tyranny of Robespierre. It is
very boldly painted, and is executed with great
breadth of manner, though in a colder tone of
colouring than that which we commonly observe
in the works of Velasquez. That it is an original
picture we think there is no doubt ; but it does
not appear to be equally certain who are the per-
sonages represented in it, nor who was the artist.
Width , 4 — 8 ; height, 4 — 2.
* So according to a MS. memorandum of the late Mr. Anger-
stein, who supposed the picture to represent the portraits of
Philip IV. of Spain and his Queen Marianna of Austria.
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No. XXX. (8.)
WILLIAM HOGARTH.
Bom, 1698. Died, 1764.
His own Portrait.
The head, admirably painted and full of character,
is on a feigned canvas of an oval form, which is
so done as to imitate a picture before it is placed
in its frame ; the real shape of the performance
being a square. The oval is supported upon the
volumes of Hogarth’s favourite authors, Shake-
spear, Swift, and Milton ; on the left, upon his
palette, is drawn the line of beauty, and on the
right is his favourite dog.
This interesting portrait was purchased by its
late proprietor, at the sale of the artist’s widow.
Height, 2 — 11; width, 2 — 3.
ANGERSTEIN collection.
65
Nos. XXXI. — XXXVI. (1—6.)
HOGARTH.
Marriage a la Mode.
(A Series of Six Pictures. Width, 2 — 11 ;
height, 2 — 3.)
The Pictures of this series, so far as respects their
design and composition, are so well known by
prints, and so much has been said by others upon
the different strokes of humour or of satire to be
found in each, that it would appear a work of su-
pererogation, were we now to enter upon details of
this kind ; and we shall therefore offer only a few
brief remarks upon them, chiefly in elucidation of
the merits of Hogarth as a painter.
Every one knows that invention is the first great
essential of an historic or dramatic painter. For
although the subject of a picture is commonly taken
by the artist from the Poet or Historian, still, the
means by which he is to render himself intelligible,
are entirely different from those to which they had
recourse ; it being required of him to produce the
same impression upon the mind of the spectator by
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a painted imitation of visible objects, (or to speak
more properly, perhaps, of the visible parts of
things,) as it is their province to produce upon the
mind of the reader by narrative and description.
In order to effect this, it is not enough for him to
represent the different personages described by the
writer, nor even the different passions whereby they
are affected : it is necessary (and in this consists the
difficulty of invention in painting,) that the chief
figures and groups in his picture should bear such
an evident relation to each other as may, to an at-
tentive observer of the performance, serve infalli-
bly to explain the story represented. We say to
an attentive observer ; because it is possible that a
work of painting may be sometimes unjustly taxed
with deficiency in this respect, in consequence of
the want of proper attention in him who views it.
Sometimes the action or employment of a figure or
group may distinctly refer to something that has
previously taken place, and so, in part, explain
the cause of the main action of the piece ; that of
another to something future, and so declare the
consequence ; and thus, where the subject admits
of it, a picture may be so contrived as to produce
an effect upon the mind nearly approaching to that
occasioned by narration ; as has often been ob-
ANGERSTEIN COLLECTION.
67
served of the Cartoon of the Sacrifice at Lystra,
and of that of the death of Ananias, by Raffaelle.
The powers of the art in this way are admirably
illustrated by the first picture of the Series now
before us ; which, independently of those that fol-
low it, tells its story. We here see various worth-
less persons met together, and about to act in an
important affair, from bad motives. The proud
and gouty nobleman has deeply involved his estate
by mortgage, for money advanced to him by the
sordid and heartless citizen ; and he receives back
the deed from the hands of the latter person’s book-
keeper, as the stipulated price of his consent to the
marriage of the young lord, his son, with the
money-lender’s daughter. It has been considered
unnecessary to consult the inclinations of either of
the young persons. The girl shews by her coun-
tenance that, at the best, a sullen consent has been
wrung from her, by the promise of fine clothes,
a title; and an equipage ; and the young man
evinces his utter contempt for his bride, and his
admiration of himself, by turning his head from
her, to view his own features in a mirror. It would
be too much to insist, that the catastrophe, which
makes the subject of the latter pictures of the se-
ries, may be inferred from the figure of the young
lawyer, who is seen whispering in the ear of the
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bride. The importance of the introduction of his
figure in this place appears afterwards. B ut the
picture, singly considered, tells its story, and is
complete without it. We perceive that the mar-
riage about to be solemnized, is entered imho from
unworthy motives, and without affection on either
side ; and we foresee clearly that it will e ntail mi-
sery upon the parties.
The total absence of affection between the man
and his wife, is further made apparent in the second
picture ; where the figure of the young libertine,
who on his return home from his debaucheries,
after day-break, has thrown himself sullenly into a
chair, is so admirable for its attitude, expression,
drawing, and colouring, as alone utterly to refute
the assertion of Lord Orford, that Hogarth, how-
ever great as an author or inventor, possessed, as
a painter, “ but slender merit.”
In the third picture we have further evidence
of the profligacy of the husband. In the fourth
we are introduced into his lady’s dressing-room ;
where, surrounded by musicians and flatterers,
she sits at her toilette, listening with complacency
to the pretty things of Silverttongue, the lawyer
before mentioned, who presents her with a ticket
for the next masquerade.
The appointment to meet at the masquer ade has
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69
been kept, and from thence the guilty couple have
repaired to some wretched place of intrigue ; whi-
ther the husband, learning the circumstance, has
followed them, accompanied by watchmen and
constables, in order to break into their apartment,
and to prevent their escape. In this, the fifth pic-
ture, which is alike admirable for expression and
effect, the figures and other objects are represented
dimly illumined by the light of a wood fire on the
left of the piece. The Earl, who has inconsi-
derately rushed into the room first, is seen mortally
wounded, supporting himself upon the back of a
chair, Inis unhappy wife, on her knees before him,
imploring his last forgiveness : the peace-officers,
too late, appear entering the door of the apartment ;
the murderer is attempting to escape by the win-
dow.
The sixth and last picture of the series closes
the sad history. The seducer and murderer has
been taken, tried, condemned, and executed ; and
the countess, who in her disgrace had sought
the refuge of her father’s house, swallows poison.
The soirdidness and reckless brutality of the last
mentioned personage are here finely described,
hoi, whilst the eyes of his unhappy daughter close
in death, he carefully removes the rings from her
fingers.
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Hogarth is the greatest of all moral painters.
His pictures are dramas ; and they have this advan-
tage over those of most dramatic authors, espe-
cially the writers of comedy ; that, whilst in their
plays we too frequently find much that is calculated
to corrupt the mind, it is the constant tendency of
his pictures to improve it.
Of his technical merits as a painter, it may be
proper further to say a few words. It was ever
the aim of Hogarth to work upon the mind of the
spectator by a true representation of characters,
actions, incidents, and expressions, such as he saw,
and as we see, in nature every day; and so far
his pictures are adapted to all ages. But, unfor-
tunately, in furtherance of his laudable purposes
of reform, and that his moral lessons might with
greater certitude come home to the bosoms of the
generation in which he lived, he dressed his figures
in the fashion of the time ; and in consequence
they have now too often an air of uncouthness,
which is prejudicial to the general beauty of his
vrorks. This, however, is the only thing in them
which might be wished otherwise ; for his drawing
is correct; his style of execution, in his finer works,
is of the most finished description; and his co-
louring and clair-obscure are true to nature : — and
it may safely be predicted that,, when the remem-
ANGERSTEIN COLLECTION.
71
brance of bag-wigs and hoop-petticoats shall long
have passed away, the performances of Hogarth
will still incur no danger of being classed with the
volumes of authors of three hundred years ago,
whose writings can no longer be read with plea-
sure, because of the obsoleteness of the language.
The series above described appears, on the
whole, to have strong claims to be considered as
the artist’s most perfect work ; and is said to have
been paimted by him in 1744.
T£ NATIONAL GALLERY.
No. XXXVII. (7.)
SIR JOSHUA REYNOLDS.
Nat. 1723. 06.1792.
Lord Heathfield with the Keys of the For-
tress of Gibraltar. — (Half-length.)
This is in all respects one of the finest and most
strikingly characteristic portraits Sir Joshua ever
painted. The head is full of animation ; the figure
finely drawn ; especially the left hand, which is
foreshortened with consummate skill ; and the
whole is painted with the greatest possible breadth
of manner, and vigour of colouring. The back-
ground is sublimely conceived, and serves to throw
out the figure with surprising force of effect. Vo-
lumes of smoke obscure the atmosphere, and we
almost hear the roar of artillery : a cannon, point-
ed perpendicularly downwards, shews the immense
elevation of the spot ; whilst the intrepid veteran,
— firmly grasping in his hand the keys of the for-
tress,— stands like the Rock of which he was the
defender. Height, 4 — 8 ; width, 3 — 8.
ANGERSTEIN COLLECTION.
73
No. XXXVIII. (9.)
DAVID WILKIE, ESQ. R. A.
A Village Merry-making, — with a Countryman,
evidently a kind-hearted fellow, — led home from
the public-house by his wife and children ; least at
a later hour of the evening it should become ne-
cessary to carry him.
In the picture before us, Mr. Wilkie appears to
have kept in view the vivid, but harmonious co-
louring of Watteau and Ostade. It is full of beau-
ties ; although from the nature of the subject, and
the extensive range of the composition, the picture
admitted not of the same intenseness of expression
and feeling which we admire in some of his other
works. It bears the name of the artist, with the
date 1811.
The esteem in which the works of Mr. Wilkie
are held, is justly their due. They possess this
great advantage over the highly finished perform-
ances of many of the painters of the Dutch school;
that, whilst the latter frequently present us with
nothing further than a beautifully executed imita-
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tion of that which in itself has neither beauty nor
interest, his pictures, in consequence of the judg-
ment exercised by him in the choice of their sub-
jects, are the vehicles of sentiment and expression.
Width, 4—2 ; height, 3—1.
J. M'Creery, Tooks-court,
Chancery-lane, London.
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